Uzbek folk musical heritage
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1. ashula songs that emerged from oral folk music 2. ashula songs that were created by bastakors, professional masters of music.
Folk ashula songs, in contrast to terma, lapar, qushiq, and yalla songs, are characterized by their relatively developed form, wide voice ranges, high syncopation, distinct melodies and intonations, and the possibility of applying poetical texts, which are based on barmoq meter (folk syllabic versification system) or on aruz meter (professional quantitative versification system). Professional ashula songs differ from folk ashula songs with a developed form, melodies with a range of one and a half to two octaves, high culminations, the use of texts from classical poetry (such as Navoiy, Bobur, Mashrab, Huvaydo, Nodira, Uvaysiy, Muqimiy, Furqat), and the application of doira usuls of various degrees of complexity.
the types of professional song genre, is especially popular in Khoresm, where the art of singing is significantly developed. Suvora songs are based on the poems of Navoiy, Mashrab, Nodira, Ogahiy, Munis, Avaz Otar, Bedil, and others. The most sophisticated forms of suvora songs make up part of Khoresm maqoms.
that is long and requires deep breathing. It is sung in a free manner by a single hofiz- ashulachi (singer) or two to four hofizs, who act as hamnafas (accomplices) in singing. The latter is typical in the Ferghana-Tashkent local style and does not use instrumental accompaniment. In katta ashula, solemn expressive recitative intonations of the range of one and a half octaves and more are harmoniously combined with ghazals (written by Lutfiy, Sakkokiy, Navoiy, Mashrab, Muqimiy, Furqat, Miskin, Haziniy, and Habibiy) with themes relating to religion, philosophy, love, affection, and edification. This genre is also known under other names such as patnisaki ashula (“song with a tray”) or likobi ashula (“song with a saucer”) because hofizs (singers) sometimes carry a patnis (tray) or likob (saucer) during performances. CD 1, Uzbek Song Heritage, presents examples selected from the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan. Specifically, it includes qushiq,
songs representing all regions of the Republic of Uzbekistan, as well as examples of suvora and katta ashula, performed by master khonandas (professional singers).
The Uzbek nation has one of the richest and most diverse selection of musical instruments in the world. In fact, it has a rich variety of instruments relating to almost all groups of musical instruments, including plucked string instruments, bowed string instruments, tapped string instruments, labial wind instruments, and percussion instruments. Traditional musical instruments, which came down to us through the ages, can be divided into three groups: string instruments, wind instruments, and percussion instruments. The string instruments group, based on the method of performance, is divided into plucked string instruments (dutar, dumbira, tanbur, Afghan rubab, Kashgar rubab, etc.), bowed string instruments (qobiz, ghijjak, sato), and struck string instruments (chang). All plucked and bowed string instruments consist of the following parts: kosakhona (the body or resonator), which is usually made of mulberry, apricot, or nut tree;
used for stringing; and dasta (the fingerboard or neck), which varies in length. The dutar (or qoshtar, meaning “dichord”, “two-stringed”) is two-stringed plucked instrument. The strings are spun from silk. Depending on the melody played, they may be tuned in a unison, a fifth, a fourth, or an octave. The dutar’s thirteen to fourteen frets, which are tied to the dasta, give it a range of more than two octaves. A dutar may be used to play folk music as well as professional music, including pieces such as “Chertmak” (“Tapping Out”), “Dutor Bayoti” (“Bayot of Dutar”), “Qoshtor” (“Dichord”), and “Munojot”. In addition, the dutar is often used as an accompanying musical instrument. For example, khonandas or ashulachis (professional singers) play dutar along with tanbur (doira, etc.) as they sing. At present, dutar is one of the most beloved musical instruments among women. The dumbira is a two-stringed instrument like the dutar. Its strings are tuned a fourth, fifth, or octave apart. Its dasta is fretless and is smoother and shorter than that of the dutar. Dumbira has a peculiar “puffy” sound. Common examples associated with doston art, such as “Bakhshi Kuy” (“Melody of Bakhshi”), as well as songs of shepherds, such as “Qoylarni Yetaklash” (“Leading Sheep”), “Qoylarni Yigish” (“Gathering Sheep”), “Chuponcha” (“Shepherdess”),
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and “Dumbira Kuy” (“Melody of Dumbira”), are performed in solo and have a range of up to two octaves. In addition to those examples, dumbira is used to accompany bakhshi in performing dostons and termas. The tanbur is a plucked string instrument that has a kosakhona and a comparatively long
onto it. Besides the main frets (parda), the body of the musical instrument has four glued small sticks (khas), which function as additional frets. The number of strings varies from three to six. The range reaches almost three octaves. Recent performance practices tend to employ three- and four-stringed tanburs, which are tuned at a fourth, fifth, and second. The strings are plucked with the help of a special plectrum (pick) called nokhun, which is made of metal, or with a natural nail. Tanbur is used as a solo musical instrument when performing sophisticated music (such as maqom), or as part of a traditional instrumental ensemble.
string instrument with a kosakhona made of skin, and a short dasta that has four tied frets and six or seven khas that function as additional frets. The five main strings of a rubab, which are tuned a fourth apart, allow for playing in a diatonic scale over a range of two octaves. Ten or eleven pegs attached to synthetic strings help to make the sound resonate further. People often refer to Afghan rubab as Bukhara accompanying musical instrument by bakhshis when performing dostons. The ghijjak is a bowed string instrument that has a round kosakhona covered with skin. The ghijjak used to have three main strings tuned a fourth apart and had a range of one and a half octaves. In the musical practice of present days, the ghijjak has four strings tuned a fifth apart and has a range of almost three octaves. It is widely used as a solo musical instrument (for performing “Azim daryo” and “Dashnobod” among others) or as an accompanying instrument for instrumental pieces.
similar types of bowed string instruments with its relatively big size, long dasta with tied frets, and kosakhona with additional glued khas functioning as additional frets. It has three or four strings, tuned a fourth, fifth, and second apart, and allow playing in a diatonic scale over almost three octaves. An additional eight to eleven strings beneath the main ones give the instrument more resonation. Sato is an ideal instrument for performing traditional professional music pieces that have slow tempos and many melismas (or embellishments), such as “qochirim”, “sayqal”, and “nola.”
string instrument played by striking or plucking the strings. It has a total of forty strings, which are combined into fourteen
is played mainly by professional sozandas (instrumentalists) as a solo accompanying instrument (examples include the melodies of “Qoshchinor” and “Mavrigi”). It is also played as part of a folk instrumental ensemble. The Kashgar rubab is a plucked five-stringed instrument that has wooden body (kosakhona) with two horn-like branches, to which a long dasta is connected. The
give the instrument a range of more than two octaves. The first two strings are used for playing melodies. They are tuned at a fourth in relation to the third string, and a fifth in relation to the fourth and fifth string. Kashgar rubab is used for playing folk melodies, sophisticated music (including “Rohat”, “Jonon”, and “Jigarpora”) and melodies for dances. It can be used as a solo instrument or as a part of an ensemble.
instrument that has been used among Turkic people since ancient times. It has a bow-like shape that is carved out of an entire tree. The bottom part of its kosakhona is covered with skin. Two strings, made of horse hair (taken from an animal’s tail), are tuned a fourth or fifth apart. It has a range of one and a half octaves. Because of its sorrowful tone, the qobiz is used for playing instrumental melodies such as “Botir Kuy” (“Hero’s Melody”), or “Chupon” (“Shepherd”). In the past, it was widely used as an distinct pitches. Its range covers two and a half octaves. Chang is played either by plucking the strings or by striking them with two small bamboo sticks. Because it emits a high and clear sound, the chang is used as an onstage solo musical instrument or as one of the many instruments in an instrumental ensemble. The wind instruments group, can be divided according to the way in which the sound is produced into
Among the most ancient and simple types of wind instruments are ghajir nay and sibiziq. The ghajir nay (or chupon nay) is a longitudinal musical instrument made of the wing bones of steppe eagle (ghajir). It has four small holes, three on the front side and one in the back. This type of musical instrument has a range of only a sixth. It is mainly used for playing “Chuponcha” (“Shepherdess”) melodies. It can also be used for producing special signal sounds associated with labor activities (such as leading or watering flock). The sibiziq (or sibizgha) is a mouthpiece wind instrument made of simple reed. Like the ghajir nay, it is played longitudinally. It has three small holes that are covered and uncovered by the instrumentalist’s fingers. Its range covers a sixth. It is especially used to play “Sibiziq Kuy” 2. 2. 020 021
(“Sibiziq Melody”). In the past, it was used for sending information (signaling) as well.
instrument played. Depending on the materials used in its production, it can bear the names of yoghoch nay (wooden nay), mis nay (copper nay), birinj nay (bronze nay), or gharov nay (reed nay). Six small holes are half closed or closed completely by the instrumentalist’s fingers. Its blowing hole is located near one of the ends. It is a chromatic instrument with a range of almost two and half octaves. Nay is mainly played by professional
solo instrument (for performing “Chuli Iroq” and “Subhidam” among others). It may also be part of an instrumental ensemble.
instrument that consists of two reed nays tied together. One of the ends of hte qoshnay has a double reed. The qoshnay has six or seven small holes that may be covered or uncovered by the instrumentalist. It has a range of two octaves. The qoshnay can be used either as a solo instrument (in performing “Sarbozcha” or “Layzongul” among others) or as part of various types of ensembles. The bulamon (bolaman, balabon) is a wind instrument made of mulberry tree that has the form of a small surnay. However, the sound is produced by blowing into a reed, as with a sibiziq or qoshnay. It has eight small finger holes and usually has its loud and high sound, it is used to blare out at folk festivities and celebrations (such as “Shodiyona”), including various wedding ceremonies (such as “Begi Sulton”). In the past, is was also used during hunting and to as a way for army men to signal.
reed plucked instrument made of iron or bone. Although it used to also be made of camel rib, today’s instruments are almost all made of iron or bone. In the middle of the changqobuz is a steel reed seven to nine centimeters long. The instrumentalist holds the
hand, clenches it with his or her teeth, and plucks the reed with the forefinger of his or her right hand. A steady main sound and its overtones are thus produced. These sounds are controlled by the air pressure coming from the mouth. Changqobuz is played predominantly by women, for melodies such as “Changqobuz Kuy” (“Melody of Changqobuz”) and “Qobuz Chalish” (“Playing on Qobuz”).
The percussion instruments group is represented by skin- covered instruments (doira, noghora) and self-resonating instruments (safoil, qoshiq, qayroq). The doira (chirmanda, childirma, daff) is a round percussion instrument. Its frame is made of vine shoots, apricot tree, or walnut tree. One side is covered with calf or saiga (goat) skin. The inner side of the frame has more than forty jingling rings. a range of two and half octaves. The bulamon, as a melody instrument, is typically played for Khoresm musical pieces, and is widely used in various ensembles. It can also be used as a solo instrument (for performing “Mukhandas” or “Sarparda” among others). The surnay is a wind instrument made of apricot, mulberry, or walnut tree. It is a carved instrument that has a cone shaped nay (tube). It has eight holes, seven on the front and one on the bottom. The blowing side of a surnay has a small metal tube, on which a thin plate with a double reed (sadat) is installed. It has a range of two octaves. This musical instrument has a loud and clear sound. As part of an ensemble consisting of a karnay, surnay, doira, and noghora, it is widely used in performing dance melodies, popular folk songs, and the surnay cycles of maqoms (“Surnay Navosi” or “Surnay Iroghi” among others) at various festivities and ceremonies.
made of brass and measuring two or more meters long. It has a bell part is in the form of expanding cone, and a brass mouthpiece at the other end, through which the instrumentalist blows. A karnay does not have any holes for the instrumentalist to cover. The sound exists through the bell part only, and the player may produce pitches at a fourth, fifth, seventh, and octave above the main pitch. It is played as part of an ensemble that includes a surnay,
By beating the side of the doira, a relatively loud “bak” sound is produced, while beating its middle part results in production of a relatively low “bum” sound. This musical instrument is widely used during weddings, folk festivals, promenades, celebrations, and other types of events, as a solo instrument accompanying dance usuls such as “Katta oyin” and “Pilla.” As part of a traditional ensemble, it plays the important role of keeping the tempo by beating usuls. In addition, the doira can serve as an individually accompanying instrument to tanbur, rubab,
instrument that has a pot-like kosakhona. It is played by beating the body, which is covered with the skin of a saiga (or other animal) with a stick. Noghoras are named according to their size and the loudness of their sound: dol noghora, kos noghora, and rez
a very loud sound, is played by beating it with one medium-sized, thick stick. Kos noghora produces a medium-low “bum” sound and is played with two sticks. Rez noghora is small and produces a loud “bak” sound and is also played with two sticks.
played during various wedding ceremonies, public holidays, festivities, shows, and other types of events (such as “Shodiyona” or “Katta oyin” and others) as part of a larger ensemble that includes karnay and sunray, and sometimes doira.
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Instrumental Ensembles In Uzbek instrumental performance practice, traditional ensembles formed, performing mainly in maydon (“square”) and
Ensembles that include such musical instruments as surnay,
produce loud sounds, perform predominantly on open squares, especially at various traditional folk festivals (performing, for example, the cycle of “Shodiyona”), shows of rope walkers and puppeteers (such as “Dorbozi”, “Duchava”, “Gul oyin Duchavasi”, and “Charkh”), wedding ceremonies (performing songs such as “Sadr”, “Begi Sulton”, or “Navo Charkhi”), and during public holidays. On the other hand, ensembles that combine relatively gentle musical instruments, such as
instrument family, nay, bulamon, qoshnay in the wind instrument family, and doira among the percussion instruments, usually perform in homes. In most of the cases, these ensembles perform the melodies of maqoms, instrumental compositions (such as “Mirzadavlat”, “Sharob”, or “Ilgor”), and accompany diverse folk songs and dances. There are local variants of traditional instrumental ensembles. For example, in Bukhara musical practice, it is possible to observe an ensemble consisting of tanbur, nay, and doira; in Ferghana-Tashkent musical practice – tanbur, dutar; in Khoresm – dutar, bulamon,
The archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan preserved various examples of melodies performed on Uzbek national musical instruments. CD 2, Uzbek Instrumental Music, contains various examples of simple melodies representing folk music, as well as different interpretations of developed classical instrumental melodies, representing professional music. 3. 2. Maqom Art Maqom (“place”, “location”, “tone”, “mode”) refers to a group of melodies and songs created based on a certain mode (parda, “perfect combination of tones”) and a system of usuls (rhythmic formulae) in the music of Central Asia and the Middle East.
part of the musical heritage of the majority of Muslim nations.
music is a general theoretical notion used to denote Bukhara
and Ferghana-Tashkent maqom cycles, which emerged as a result of the development of universal classical foundations (that is, mode, intonation, and usuls). Maqoms are divided into cholghu yullari (instrumental cycle) and aytim yullari (vocal cycle) groups. These groups, representing sophisticated forms of instrumental music and singing art, have been performed by sozandas (musicians) and
solos, as accompaniment, or with accomplices (hamnafas). In performing maqom compositions, tanbur is considered the leading musical instrument, whereas doira plays an important role in performing usuls (steady rhythmic formulae), which show up systematically in instrumental and vocal parts. Instrumental ensembles may consist of various combinations of instruments. The instruments may include tanbur, dutar, Afghan
In ashula yullari (song cycles) of maqoms, ghazals relating to love or edifying, religious, and philosophical themes, the lyrics are written by classical poets, such as Jomiy, Lutfiy, Navoiy, Bobur, Fuzuliy, Hofiz, Amiriy, Nodira, Zebunniso, and Ogahiy, or folk rubais are used. Bukhara Shashmaqom is a group consisting of six maqoms, which occupied a principal place in the classical musical heritage of the Uzbek and Tajik people. It emerged as a result of the creative activity and scholarly pursuit of professional court musicians (bastakors, sozandas, and khonandas) and music experts (musiqashunoslar) of the city of Bukhara in the middle of the eighteenth century.
following maqoms: Buzruk (“big”, “great”, “grand”), Rost (“right”, “true”), Navo (“melody”), Dugoh (“two places”, “two modes- tones”), Segoh (“three places”, “three modes-tones”), and Iroq (named after the country). The melodies and songs in each of
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these maqoms are related by sharing modes and intonations, usul rhythms, forms and styles. Each maqom of the group consists of two major parts: an instrumental part called Mushkilot (“difficulties”) and a vocal part called Nasr (“triumph”, “victory”). The instrumental part includes the main sections of Tasnif (“perfect work”), Tarje (“repetition”), Gardun (“reverse of a fortune”, “fate,” “destiny”), Mukhammas (“fivefold”), and Saqil (“moderate”, “heavy”), which remain unchanged in their doira usuls and bear the same names across all maqoms of the group. However, each maqom has its own distinct melodies and intonations for each of these sections, which is what distinguishes the six types of Shashmaqom. The sections are named after maqoms (for example, Tasnifi Rost, Tarjei Buzruk, Garduni Navo, etc.). Solo melodies in the instrumental part, Mushkilot, can be performed with tanbur, but also with ghijjak, dutar, nay, rubab, qoshnay, or other national musical instruments. It is also common to observe an instrumental ensemble consisting of tanbur,
musical practice of Bukhara. Traditionally, after the instrumental parts of Shashmaqom have been performed one after the other without interruption, the performers proceed with its vocal part, Nasr.
groups. The first group is used as well as performance styles differ from those of Bukhara maqoms. The maqoms of this type consist of two big parts as well: instrumental melodies (Chertim Yuli or Mansur) and songs (Aytim yul or Manzum).
cycle) consists of the following independent sections: Tani
“body”), Tarje, Peshrav (“striving forward”), Mukhammas, Saqil, and Ufar, which are performed as solos or accompanied. Tanbur is used for the melody, and doira is used for the usuls. Maqoms that include more instruments (such as dutar, nay, bulamon, qoshnay,
as a foundation. The Aytim Yuli of Khoresm
sections: Tani maqom, Talqin, and Nasr; and the following subsections: tarona, suvora, naqsh, faryod, and ufar. Khoresm maqoms, unlike Shashmaqom, have no second group of shuba. Aytim Yullari are recited poetic works written by Navoiy, Fuzuliy, Mashrab, Ogahiy, Munis, Avaz Otar, and other poets in aruz meter (quantitative versification system).
Among the Khoresm maqoms kept in the archive of audio recordings of the Fine Arts Institute of the Academy of Uzbekistan, the examples of Chertim Yuli performed by Ollanazar Hasanov (tanbur) and Jumaniyoz Hayitboev
represented by the following sections: Sarakhbor (“main news”, “main topic”); Talqin (“edification”, “advice”); Nasr (“help,” “triumph”, “victory”); the connecting part between them, Tarona (“song”, “tune”); and the closing part, Ufar (a dancing end). The second group consists of the sections (shubas) Savt (“reflection”, “sound”) and Moghulcha (“Moghul style”), and the subsections Talqincha, Qashqarcha, Soqiynoma, and Ufar.
The sections of the Nasr part of Shashmaqom are sung based on works of classical poetry (written by Lutfiy, Sakkokiy, Atoiy, Hofiz, Jomiy, Navoiy, Fuzuliy, Bobur, Mashrab, and others). The archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan has instrumental melodies performed by famous maqom masters Marufjon Toshpulatov (on tanbur) and Najmiddin Nasriddinov (on doira), which were recorded on magnetic tape in 1959. Examples of these are found on CD 3.
types of maqoms that were systematized in the first half of the nineteenth century. Like Bukhara Shashmaqom, they represent a big group consisting of six main maqoms (Rost,
and Iroq). Although in terms of general structure, Khoresm maqoms are similar to Shashmaqom, some of the names, melodies, and usuls Otaniyozov (voice, tar) and Abdurashid Otajonov (doira) are to be found on CD 4.
a type of maqom cycles that emerged in the musical practice of Tashkent and the cities of the Ferghana Valley (such as Kokand, Namangan, Andijan, Ferghana, Margilan, and Quva). Unlike
united cycle, but rather, several individual, separate cycles. In particular, cholghu yullari (instrumental cycles) range from single-part small-sized melodies (such as “Mushkiloti Segoh”, “Surnay Iroghi”, “Chorgoh”, “Ajam Va Uning Taronalari”, “Mirzadavlat I-II”, “Segoh I-III”, “Munojot I-V”, and “Miskin I-V”) to three- to five-part cyclic ones. Ferghana-Tashkent maqoms are performed on various national musical instruments (such as nay, ghijjak, dutar, tanbur, and surnay) either as solos or in traditional ensembles. Ashula yullari (song cycles) of Ferghana-Tashkent maqoms, much like cholghu yullari (instrumental cycles), have independent single-part song groups (such as “Segoh”, “Toshkent Iroghi”, or “Munojot”) as well multi-part song groups. Especially popular are five-part
“Bayot”, “Bayoti Sheroziy”, and “Gulyor- Shahnoz”; and seven- part ones, such as “Dugoh- Husayn”. They use poems of classical poetry (written by Sakkokiy, Navoiy, Bobur, Uvaysiy,
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Furqat, and Muqimiy, among others).
The yalla, ashula, and katta ashula genres, to some degree, have influenced the development of the intonation system of Ferghana-Tashkent maqoms. This made them truly popular, and it is one of the reasons as to why they became famous among the people. Moreover, performing ashula yullari in a free style without doira usuls, or in other words, performance of yovvoyi maqoms (“wild maqoms”), became a tradition. These types of maqoms are called Yovvoyi Ushshoq or Yovvoyi Chorgoh. In contrast to Shashmaqom, Ferghana-Tashkent maqoms were often performed not only at royal courts and palaces, but also at various events that were associated with the daily life of the people. For example, surnay yullari (surnay cycles) were performed during folk shows, festivities, circus shows, and wedding feasts, while performances on dutar, tanbur, and ghijjak were held at various get-togethers and meetings organized in homes. CD 5 includes selected examples of ashula yullari (song cycles) and cholghu yullari (instrumental cycles) kept in the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan. Examples of ashula yullari include “Gulyor-Shahnoz” by Shoqayum Shobaratov (voice, tanbur), Jamol Hidoyatov (voice), Husanjon Abdullaev (voice, dutar), and Abdullajon Soliev (doira); and “Yovvoyi Chorgoh” by Mamatbuva Sattorov (voice) and Khojimurod Muhammedov (voice). Examples of cholghu yullari include “Navrozi Ajam, Ajam Va Uning Taronalari” by Rizqi Rajabiy (tanbur) and Ishoq Rajabov (dutar). 4. 3. Traditions of Uzbek Doston Art Oral doston art traditions hold a special place in the culture of Uzbekistan. These traditions brightly reflect the flourishing of storytelling, novel narration, eloquence, and instrumental performance of the Turkic people over the centuries. As opposed to dostons that emerged from classical written literature (for example, “Farkhod and Shirin”, “Leyli and Mejnun”, and others, which make up part of the “Khamsa” work of Navoi), these types of dostons are the result of the creativity of professional bakhshis (shoirs, jyraus, and others) directing epics. These types of dostons (including “Alpomish”, “Goroghli”, “Kuntughmish”, and “Oshiq Gharib”) consist of prosaic and poetic parts. Indeed, the art of bakhshi unites singers and instrumentalists (dumbira, qobiz, dutar, tar), and the skills necessary for this art were honed over the course of years spent in ustoz-shogird (“master apprentice”) traditional schools of mastery. Performances of dostons were widespread in rural areas and villages. They usually started in late autumn and continued to early spring. Bakhshis usually participate in specially organized doston evenings, but also in various family-related festivities, wedding ceremonies, and other events.
Traditional doston art is found in almost all areas of Uzbekistan, including Surkhandarya, Kashkadarya, Khoresm, and the Republic of Karakalpakstan.
These regions, located in the south of Uzbekstan, are especially famous for their Shakhrisabz and Sherobod schools of doston art. These schools became popular with such magnificent dostons as “Alpomish”, “Goroghli”, “Sohibqiron”, “Oltin Qovoq”, “Malla savdogar”, “Ollonazar Olchinbek”, and “Oychinor”. The representatives of these schools (such as Rajab shoir, Abdulla Nurali oghli, Islom Nazar, Shernazar Beknazar oghli, Mardonaqul Avliyoqul oghli, Umir Safar oghli, and others) skillfully and artistically narrate prosaic parts of dostons while the poetic parts are performed by a guttural singing, in a recitative manner. In such performances,
is used as an accompanying musical instrument. In addition, instrumental versions emerged, in which a separate melody,
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representing the doston song, is played by a dumbira. These melodies are called Bakhshi kuy (“melody of Bakhshi”). CD 6, Dostons from Surkhandarya and Kashkadarya, features examples of dostons kept in the archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan, such as “Ravshan” by Fayzulla bakhshi Donaev (voice, dumbira) and “Avaz” by bakhshi Abdumumin (Mumin polvon) Rahmonov (voice, dumbira). The Doston art of Khoresm has its peculiar traditions. In particular, Khoresm dostons are not performed with traditional guttural voices, but rather, with melodious open voice, accompanied by Dutar. However, since the twentieth century, tar has also been used widely. Moreover, doston song parts (nomas, epic melodies or tunes) may be performed by an ensemble, led by a bakhshi playing dutar, while the other performers play ghijjak, bulamon, and sometimes doira. The repertoires of famous performers of Khoresm dostons (Bola bakhshi (Qurbonnazar) Abdullaev, Tursunboy bakhshi Jumaniyozov, Qahhor bakhshi Rahimov, and Qalandar bakhshi) are dominated by the epos of love-related themes, including “Avazkhon”, “Khirmondali”, “Oshiq Gharib and Shohsanam”, “Yusuf Ahmad”, “Bozirgon,” “Oshiq Oydin”, and “Oshiq Mahmud.” The archive of audio recordings “Alpamys” performed by famous jyrau of Karakalpakstan Qiyas Khayratdinov (voice, qobiz) and one part from the doston “Gharip Ashiq” performed by Shaniyaz baqsy Erniyazov (voice, dutar). of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan contains extracts from such dostons as “Hurliqo-Hamro” performed by Tursunboy bakhshi Jumaniyozov (voice, dutar) and “Bozirgon” performed by Bola bakhshi (Qurbonnazar) Abdullaev (voice, tar). Some of these extracts are included on CD 7, Dostons from Khoresm. Traditions of Karakalpak doston art. The dostons of the Republic of Karakalpakstan, located in the northwest of Uzbekistan, are performed by jyraus, baqsys, and qissakhans (narrators of novels). The repertoires of jyraus include mainly heroic dostons (such as “Qoblan”, “Sharyar”, “Edige”, “Alpamys”, and “Maspatsha”). Namas (epic melodies or tunes) song parts, written in aruz meter, are performed with guttural voice accompanied by qobiz. Baqsys, apart from romantic dostons (“Gharip Ashiq”, “Sayatkhan-Khamre”, “Yusuf- Akhmet”, and “Goroghli”), perform songs based on classical poetry (written by Makhtumquli, Kunkhoja, Ajiniyaz, and Berdaq) by singing with a regular open voice and playing dutar, ghijjak, and sometimes bulamon. The archive of audio recordings of the Fine Arts Institute of the Academy of Sciences of the Republic of Uzbekistan has some examples of dostons performed by jyraus and baqsys of Karakalpakstan. CD 8, Dostons from Karakalpakstan, features examples of namas, such as 4. 4. 031 01. Mayda 01:16
folk labor-related song
Rajab shoir Normurodov (voice), man, Dehqonobod district, Kashkadarya region Musical-Ethnographic Expedition to Kashkadarya (1956)
02. Yarghuchoq 00:35
(“Handmill”)
Bibioy Salimova (voice), woman, Dasht village, Karshi district, Kashkadarya region Musical-Ethnographic Expedition to Surkhandarya and Kashkadarya (1961) 03. Chiray-chiray 00:56
Zumrad Rahimova (voice), woman, Yakkabogh district, Surkhandarya region
Musical-Ethnographic Expedition to Surkhandarya and Kashkadarya (1958) 04. Khosh-khosh 00:53
Idris Norboyeva (voice), woman, Kukabuloq village, Kashkadarya region
Musical-Ethnographic Expedition to Surkhandarya and Kashkadarya (1958) 05. Boychechak 00:26
(“Snowdrop”) children’s calendar-related ceremonial song
Tindi Yunusova (voice), woman, Vodil village, Ferghana district, Ferghana region Rikhsi Obidjonova (voice), woman, Vodil village, Ferghana district, Ferghana region Musical-Ethnographic Expedition to Ferghana (1955) CD 1 CONTENTS OF CDS WITH DETAILED DESCRIPTIONS Uzbek Song Heritage Download 0.92 Mb. Do'stlaringiz bilan baham: 
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